Edward Enninful reflects on Modern Britain: 'We Are Less Tolerant Now' Than in the 90s.

A serendipitous meeting on the London Underground in 1988 transformed the trajectory of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's electric 1990s creative scene, moving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.

"That era was the height of the YBA movement – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I miss that energy."

Although Enninful appears wistful, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. But since that time, Enninful feels a profound shift. "In my view, we’re more divided now than we were in the 90s," he says. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This regression is increasingly evident: the resurgence of nationalist groups, the backlash against social awareness, and the reinforcement of Eurocentric beauty standards. Replacing the hope of the late 90s, currently a different political figure looms as a potential leader. Furthermore, the British flag, once an emblem of Cool Britannia, has become contentious again.

According to Enninful, the antidote has always been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from literature.

"People with a voice should employ it," he says, referring to those editorial decisions. "People often debate about immigration; I would not be in this position if Britain hadn't been a lenient country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this phase will pass."

A New Wave of Consciousness

He draws solace in the younger generation: "They’re much more aware than we were. They discuss systemic issues – I had no concept what that was."

Those early experiences would shape a trailblazing career built on fearlessness and inclusivity. Enninful made history as the first male, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured historic front pages showcasing people of diverse backgrounds, curvy models, older individuals, and people from all walks of life. Importantly, sales rose.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s commercially unwise," he explains.

Launching a Creative Venture

He has recently launched his creative company EE72 and its flagship publication, 72, his premier initiative since departing his former post. He says he wants to continue being a "change-maker".

"I constantly interrogate the established norms. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was incredibly timid. My teachers declared I’d never amount to anything. Me and my brothers were harassed under the suspicion laws … those experiences gave me a sense of being both an insider and outsider."

In contrast to the stereotype of fashion editors as brash and temperamental, Enninful is softly spoken and radiates serenity. His life has included its share of challenges, including well-documented periods of mental health and substance use.

He has also faced significant health issues, having undergone several surgeries on his eyes, now leaving him with limited vision. "I was in such a difficult period for two years, away from work, fearing I was going to lose my sight. It’s similar to PTSD; you just live in fear 24/7. I vowed, if this ever ends, I’m just going to pursue all that I was so afraid to do. I’m not going to confine myself to just being an editor or a figure in fashion."

Curating a Cultural Era

This refusal to be defined narrowly has propelled him beyond the world that made his name. He is now putting together a major 1990s exhibition at Tate Britain, featuring work by a roster of pivotal artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and give platform to those who did not receive adequate attention at the time.

"Galleries didn't always celebrate the right artists because they did not have the traditional credentials," he states.

This project itself operates on a novel business model, eschewing traditional advertising in favour of integrated partnerships. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is part of a broader vision."

A Testament to Resilience

Currently, Enninful operates as one of the world's most powerful creative power brokers. His journey, he feels, is a testament to the power of defying expectations.

How would the Enninful of that era react to the man he has become? He chuckles. "He’d be in shock, but he’d be proud. At that time I was a rebel. I would not have believed institutions like Tate were a place for someone like me."

He adds. "Gratitude is key. We lost our home, we left our homeland. I nearly lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."